MOVIE REVIEW & INTERVIEW / Locked (a film by David Yarovesky)

From producer Sam Raimi, this horror-thriller follows a petty thief (Bill Skarsgård) who breaks into the wrong car and becomes prey to its vengeful owner (Anthony Hopkins). Eddie faces a deadly game of survival, where escape is an illusion, and justice shifts into high gear.

Jenny sits down with the director of Locked, David Yarovesky to chat about horror icons, closed spaces and embracing the inspiring challenges of independent movies. Join the conversation in the comments and on social media.

For audio, please check out the Atomic Geekdom Podcast to listen in.

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By Jenny Robinson

We are in a splendid time for indie movies right now. When movies like Anora can take home the Oscar, and historic art house theaters are becoming the hot spot for entertainment.

Locked (released in theaters March 21st, 2025 ) hasn’t seen a lot of hype on socials despite having two of the most acclaimed horror actors today. So far it has been a quiet backseat thriller, hidden behind the hype of the larger budget Steven Soderbergh Black Bag and the family friendly live-action, Snow White. Regardless of the constantly unpredictable market, this movie has the potential to out shine them all.

The direction style of Yarovesky works seamlessly with this story. Many times, as a theatergoer, I felt as if I was apart of this horror, a spectator on the outside, looking in. This feeling is driven home by how each camera and angle is applied. It holds our hand in how we view both inside and outside of the Dolus (the weaponized luxury SUV), by adding a layer of claustrophobic anxiety.

Bill Skarsgård’s portrayal of the central character Eddie, allows the audience to both feel annoyed with and identify you’re also on his side . Even his pink hoodie has costume design importance. A hoodie is synonymous in security cam footages to burglars and thieves. Having his shirt be pink to soften away from the black, makes him feel more amateur, a screw up. Every scene is master class in acting for a character full of stubbornness, determination, and atonement.

The movie brings you in full force, once William’s (Sir Anthony Hopkins) voice is audible in the car. Flashbacks of Hopkin’s calm, soothing and unsettling voice from his vast portfolio of films, took this role up an impressive notch. The way he can deliver lines that make you feel both empathy for the antagonist and fear is an example of his excellence.

The scenes when both of them are together, are exemplary, with the plot blurred between necessity, remorse, justice, revenge, all told through a clever lens torture. Where the rich can eat the poor, but the less advantage has street smarts the privileged could never understand.

This movie was one hell of a ride. Open the door, and see it on a big screen.

MOVIE REVIEW/ "Novocaine"

By Anthony Caruso

Novocaine is a thrilling action-comedy that delivers a unique blend of humor, over-the-top violence, and charismatic performances. Directed by Dan Berk and Robert Olsen, the film offers a fresh take on the action genre, reminiscent of superhero narratives but with a distinctive twist.

The story centers on Nathan Caine, a mild-mannered bank executive with congenital insensitivity to pain (CIP), a rare disorder that prevents him from feeling physical pain. Nathan leads a cautious life, avoiding any potential harm due to his condition. His monotonous existence takes a turn when his colleague, Sherry, expresses romantic interest, introducing him to new experiences and emotions. Their budding relationship faces a dire challenge when a group of bank robbers, led by the enigmatic Simon, takes Sherry hostage during a heist. Nathan must harness his unique condition to rescue her, embarking on a perilous journey filled with action and self-discovery.

Jack Quaid shines as Nathan Caine, bringing a blend of vulnerability and determination to the role. His portrayal captures the nuances of a man disconnected from physical sensations yet deeply in touch with his emotions. Amber Midthunder, meanwhile, delivers a captivating performance as Sherry, balancing strength and sensitivity, making her chemistry with Quaid both believable and engaging. Plus, she's sexy as hell!

Then there's Ray Nicholson, who stands out as Simon, the film's antagonist. His portrayal adds complexity to the character, making him more than a typical villain. Nicholson's performance brings a certain charm to Simon, creating a dynamic where audiences might find themselves conflicted about who to root for. 

The film excels in its action sequences, creatively utilizing Nathan's inability to feel pain. This unique trait leads to inventive fight scenes where Nathan endures extreme physical punishment, often resulting in over-the-top and grotesque scenarios played for laughs. The choreography leans into the absurdity of his condition, providing a fresh perspective on action tropes. One standout sequence is a high-octane car chase that combines thrilling stunts with comedic elements, showcasing the film's ability to balance tension and humor effectively.

Novocaine successfully balances a playful tone with its action-packed narrative. The directors, Berk and Olsen, maintain a pace that keeps audiences engaged, blending elements of superhero storytelling with a grounded, character-driven plot. The film doesn't shy away from the grotesque aspects of Nathan's condition, but it presents them in a manner that aligns with the film's comedic undertone.

When you boil it down, Novocaine hits all the beats audiences love: a captivating romantic subplot, exhilarating action set pieces, and well-developed characters. It's a legitimately fun and hilarious movie that offers a fresh perspective on the action-comedy genre and one that I think is worth seeing in theaters. I highly recommend it and can't wait to watch it again myself!

MOVIE REVIEW/ "Mickey 17"

By Anthony Caruso

Bong Joon-ho's Mickey 17 is a cinematic marvel that masterfully intertwines dark comedy and science fiction, delivering a narrative both timely and emotionally resonant. Based on Edward Ashton's novel "Mickey7," the film explores themes of identity, exploitation, and survival, set against the backdrop of a dystopian future.

The story follows Mickey Barnes, an "Expendable" crew member on a mission to colonize the icy planet Niflheim. Tasked with perilous assignments, Mickey is cloned and "reprinted" after each death, embodying the expendability of lower-class workers in a capitalist society. Pattinson's portrayal of Mickey is both sincere and scrappy, capturing the character's resilience and vulnerability. Not only that though! His dual performance as multiple iterations of Mickey showcases his versatility as an actor, for he brings distinct nuances to each clone. This duality adds depth to the narrative, emphasizing the psychological toll of Mickey's existence.

The supporting cast enhances the film's satirical edge. Mark Ruffalo and Toni Collette deliver standout performances as over-the-top figures reminiscent of Trump-era excess, embodying the grotesque nature of unchecked power and greed. Their portrayals add a layer of dark humor, highlighting the absurdity of their characters' moral corruption. And, in my opinion, they steal every scene they're in. Then there's Naomi Ackie, who shines as Nasha Barridge, a security agent and Mickey's romantic interest. Ackie brings warmth and complexity to her role. Meanwhile, Anamaria Vartolomei's character - Kai - is a fun addition to the movie, though she feels underutilized, and leaves the audience yearning for more of her presence and backstory. (She's also so beautiful, it's nearly criminal how distracting she is whenever she's on-screen!) Steven Yeun rounds out our main cast, delivering a compelling performance as a completely awful character who is sure to draw your ire. His portrayal adds tension to the narrative, reflecting the complexities of human nature in survival scenarios, and is sure to be a revelation to those who only know him as the kind-hearted Glenn on The Walking Dead.

Visually, Mickey 17 is stunning. The set design immerses viewers in a meticulously crafted dystopian world, while the sound mixing and musical score enhance the film's atmospheric tension. The special effects are seamless, bringing the alien environment and its inhabitants to life. Indeed, the film's design of the "Creepers" is noteworthy. Initially presented as alien and repulsive, they gradually reveal endearing qualities and become - dare I say - "cute", challenging viewers' preconceived notions and evoking empathy. This transformation underscores Bong's talent for subverting expectations and humanizing the other.

Despite its many strengths, the film's pacing falters in the final act. At 137 minutes, certain scenes feel protracted, and a more concise runtime could have heightened the narrative's impact. Nevertheless, Mickey 17 is a thought-provoking and emotionally charged film that showcases Bong Joon-ho's directorial prowess. Its timely themes and stellar performances make it a must-see, particularly on the big screen where its visual and auditory elements can be fully appreciated. Despite minor pacing issues, the film stands as a testament to the power of science fiction to reflect and critique societal issues.

MOVIE REVIEW/ "Riff Raff"

By Anthony Caruso

Riff Raff, directed by Dito Montiel, is a darkly comedic crime thriller that blends family dysfunction, past transgressions, and the complexities of redemption. Set against the backdrop of the holiday season, the film delivers a unique mix of humor and tension, making it a standout indie comedy of 2025.

The story follows Vincent a reformed ex-contractor who has built a peaceful life in a secluded Maine cabin with his wife, Sandy, and stepson, D.J. Their tranquility is shattered when Vincent’s estranged son, Rocco, unexpectedly arrives with his pregnant girlfriend, Marina, and his chaotic mother, Ruth. As tensions rise and long-buried secrets begin to surface, the family is forced to confront the ghosts of their past.

The film boasts an all-star cast, each delivering performances that elevate the material. Ed Harris is compelling as Vincent, portraying a man desperately seeking redemption while wrestling with his past mistakes. Jennifer Coolidge steals scenes as Ruth, injecting the film with her signature comedic timing while adding surprising emotional depth. Gabrielle Union serves as the film’s emotional anchor, grounding the chaos with a resilient and compassionate performance. Lewis Pullman shines as the troubled Rocco, whose journey to reconnect with his father is layered with both tension and vulnerability. And of course, there's Bill Murray, as the mysterious hitman Lefty, brings his signature deadpan humor to the role, balancing menace and absurdity with ease. Pete Davidson is also a revelation here in a more subdued turn, playing Lonnie, adding an understated but effective presence to the mix. Meanwhile, Miles J. Harvey delivers a strong performance as D.J., offering an outsider’s perspective on the family’s dysfunction.

Dito Montiel masterfully balances dark humor with genuine emotional moments, ensuring the story remains engaging throughout. The holiday setting provides an ironic contrast to the family’s escalating turmoil, heightening the absurdity while maintaining a strong emotional core. The film’s pacing keeps viewers hooked, with well-timed reveals and character developments that build to a satisfying climax.

Riff Raff stands out as a uniquely entertaining film that skillfully intertwines the chaos of a dysfunctional family with the intrigue of old gangster narratives. The stellar ensemble cast fires on all cylinders, making it an engaging and hilarious experience. The holiday setting adds an extra layer of charm, making this a film worth revisiting. With its all-star cast and sharp writing, it’s a great time at the theater and a film I can’t wait to watch again when it hits streaming.

MOVIE REVIEW/ "Captain America: Brave New World"

By Anthony Caruso

Captain America: Brave New World, directed by Julius Onah, is the latest installment in the Marvel Cinematic Universe. It features Anthony Mackie as Sam Wilson, the new Captain America. The film attempts to explore themes of legacy, political intrigue, and personal identity but ultimately delivers a lackluster experience that fails to resonate.

The narrative follows Sam Wilson grappling with the mantle of Captain America amidst a politically charged environment. President Thaddeus Ross, portrayed by Harrison Ford, introduces complex dynamics as both an ally and antagonist. While the premise holds potential for a deep exploration of contemporary issues, the film skims the surface, offering a disjointed storyline that lacks coherence and depth. 

Anthony Mackie's portrayal of Sam Wilson is earnest but falls short of capturing the gravitas associated with the Captain America persona because Mackie is just not a good actor; earnestness does not equal talented. His performance is hindered by a script that provides little room for character development, rendering his journey unconvincing and emotionally flat. Harrison Ford's role as President Ross, while initially promising, devolves into over-the-top theatrics that undermine the character's credibility. The anticipated transformation into Red Hulk is underutilized, serving more as a marketing hook than a pivotal plot element. And then there's Carl Lumbly's portrayal of Isaiah Bradley, who stands out as a missed opportunity. His character's rich backstory and emotional depth could have provided a compelling narrative, yet the film sidelines him in favor of less engaging plotlines and even less engaging and likable characters. The inclusion of other characters - such as Sebastian Stan's Bucky - feels perfunctory, serving more as fan service than contributing meaningfully to the story. 

The film's visual effects are notably subpar, with CGI sequences that appear rushed and unpolished. Action scenes, though abundant, lack innovation and fail to deliver the excitement expected from a blockbuster of this scale. The costume design, particularly for Captain America himself, is unappealing, with comparisons drawn to Ant-Man's helmet, detracting from the iconic image of the character. 

The screenplay, meanwhile, is riddled with clichés and contrived dialogue, offering little in terms of originality or emotional resonance. Director Julius Onah's approach seems unfocused, attempting to juggle multiple subplots without providing adequate attention to any, resulting in a fragmented narrative. The film aspires to be both a sequel to The Incredible Hulk and a standalone Captain America story but fails to excel in either domain, leading to an unsatisfactory amalgamation that doesn't honor the legacy of either of its predecessors. 

While the film hints at addressing significant themes such as race, national identity, and global politics, it lacks the nuance and depth required to engage with these topics meaningfully. The potential to provide insightful commentary is overshadowed by a superficial treatment that leaves these critical issues under-explored and unresolved. And the post-credits scene, traditionally a platform for exciting teases of future developments, falls flat, offering a moment that is both forgettable and inconsequential. It fails to generate anticipation or provide meaningful context for upcoming installments, marking a low point in the MCU's history of post-credits sequences.

Captain America: Brave New World epitomizes mediocrity within the superhero genre. It is neither overtly bad nor notably good, settling into a forgettable middle ground that contributes to the growing sentiment of superhero fatigue among audiences. The MCU's tendency to prioritize quantity over quality is evident here, as the film offers little beyond its commercial intent, lacking the creative spark that once defined the franchise. With upcoming projects like Thunderbolts* and Fantastic Four, Marvel Studios faces the critical task of reinvigorating its storytelling to recapture both critical acclaim and audience interest. As it stands, Captain America: Brave New World is a film that fails to leave a lasting impression and does little to advance the legacy of its titular hero. It's also a movie that, in short, I will never revisit again.

Movie Review/ "The Monkey"

By Anthony Caruso

Directed by Osgood Perkins, The Monkey is a 2025 horror-comedy adapted from Stephen King's 1980 short story of the same name. The film follows twin brothers Hal and Bill Shelburn, portrayed by Theo James, who discover a cursed toy monkey that brings death to those around it. As they attempt to rid themselves of the sinister artifact, a series of horrifying and darkly comedic events unfold. With a stellar cast and a blend of horror and humor, The Monkey stands out as a must-see film of the year.

Following the success of Longlegs in 2024, Osgood Perkins cements his reputation as a visionary horror director with The Monkey. Unlike many in the genre, Perkins embraces the notion that horror can be both terrifying and fun. His direction skillfully balances genuine scares with moments of levity, creating a film that is as entertaining as it is unsettling. Perkins' unique approach ensures that The Monkey delivers thrills without taking itself too seriously, a refreshing take in modern horror cinema.

Theo James delivers an exceptional performance, taking on dual roles as both Hal and Bill Shelburn. He masterfully distinguishes the charismatic Hal from the more subdued and eerie Bill, showcasing his versatility as an actor. Tatiana Maslany shines in her supporting role as Lois Shelburn, the twins' mother, bringing humor and depth to her character. Meanwhile, Colin O'Brien, portraying Hal's son Petey, offers a standout performance that hints at a promising future in acting. The supporting cast, including Rohan Campbell, Adam Scott, and Perkins himself in a cameo, contribute to the film's dynamic ensemble, each bringing their unique flair to the story.

The design of the titular toy monkey is both simple and deeply unsettling. Its presence on screen evokes a sense of dread, making audiences hold their breath with each appearance. The monkey's unnerving design is sure to become iconic in horror memorabilia, compelling fans to seek out replicas and merchandise. I for one rushed out of the theater the moment the film ended to buy the $45.00 popcorn bucket, I loved it so much.

The film's cinematography is visually stunning, filled with memorable imagery that enhances the storytelling. Nico Aguilar's work behind the camera captures the eerie atmosphere perfectly, while the score complements the film's tone, heightening both the horror and comedic elements. The technical aspects of The Monkey work in harmony to create an immersive viewing experience.

The Monkey is a triumph in every sense, offering a blend of horror and comedy that is both refreshing and engaging. It's a film that invites multiple viewings, with layers that reveal themselves upon each watch. As one of the best adaptations of Stephen King's work, it captures the essence of the original story while infusing it with a modern sensibility. Whether you're a horror aficionado or a casual moviegoer, The Monkey is a film that demands to be seen. Don't miss the opportunity to experience this thrilling ride in theaters. It's outrageously funny, legitimately scary, spectacularly gory, endlessly entertaining, and incredibly re-watchable. I for one will be making a point to see this one in theaters at least one more time, and watching it often when it hits digital and streaming platforms.

Movie Review/ "Love Me"

Love Me is an ambitious sci-fi romance that attempts to explore the complexities of love and human connection in a world where humankind has gone extinct. While the concept is undeniably intriguing, the film ultimately struggles under the weight of its ambitions, never fully delivering on the emotional or philosophical depth it promises.

Set in a future where humans have been wiped out by an unspecified extinction event, the film follows two artificial intelligences: a weather buoy named "Me", voiced by Kristen Stewart, and a satellite named "Iam", voiced by Steven Yeun. As the last sentient beings left on and near Earth, they attempt to make sense of love by absorbing human digital history and recreating human interactions through avatars. What follows is a slow, often meditative journey into what it means to feel, to connect, and to exist in the absence of purpose.

The strongest aspect of Love Me is its concept which, while not unique, is nevertheless consistently intriguing. The idea of two AIs trying to decipher love through the remnants of human existence is thought-provoking and, at times, eerily poignant. The film's visuals—ranging from beautifully desolate landscapes to abstract representations of digital consciousness—are striking and create an immersive atmosphere.

Steven Yeun delivers a fantastic vocal performance, imbuing Iam with a warmth and curiosity that makes him the most engaging aspect of the film. He brings depth and charisma to a character that could have easily felt sterile. The film also benefits from a melancholic, ambient score that enhances its dreamlike tone.

All that said, for a film that clocks in at just ninety minutes, Love Me drags more than it should and feels far longer than it actually is. The pacing is sluggish, with long stretches where very little actually happens. While some of this is intentional—meant to reflect the isolation and existential searching of its characters—it often feels meandering rather than profound.

Perhaps the biggest issue with the film, however, is that it never fully capitalizes on its premise. It hints at grand ideas about love, memory, and existence, but it never digs deep enough to leave a lasting impact. It wants to be WALL-E for adults, but it lacks the charm, heart, and narrative drive that made WALL-E such a standout.

Kristen Stewart’s performance doesn’t help matters. While some may argue that her detached, monotone delivery fits the role of an AI, it ultimately makes Me a dull and uninspiring character. The contrast between Stewart’s lifeless performance and Yeun’s emotional one only emphasizes the disparity in engagement. I continue to remain baffled to this day as to how Stewart has any sort of acting career whatsoever. 

Love Me is not a bad movie, but it’s not a particularly compelling one, either. It presents an interesting idea but never quite figures out how to make that idea resonate in a meaningful way. If you’re a fan of high-concept sci-fi, it’s worth a watch when it hits streaming, but there’s no need to rush to the theater for this one. Just be prepared that once you do watch it, like me, you probably won’t ever feel the urge to revisit it again afterward.

Movie Review/ "The Brutalist"

By Anthony Caruso

Brady Corbet's The Brutalist is an epic period drama that delves into the life of László Tóth, a Hungarian-born Jewish architect and Holocaust survivor, portrayed by Adrien Brody. The film chronicles Tóth's journey as he emigrates to the United States in 1947, aiming to rebuild his legacy amidst the birth of modern America. His life takes a pivotal turn upon meeting the enigmatic and affluent Harrison Lee Van Buren, played by Guy Pearce, whose patronage profoundly impacts Tóth's career and personal life.

Adrien Brody delivers a masterful performance as László Tóth, capturing the nuanced struggles of an immigrant artist striving to leave his mark in a new world. His portrayal is both poignant and powerful, embodying the resilience and vulnerability of a man haunted by his past while ambitiously looking toward the future. Brody's depth and commitment to the role have garnered critical acclaim, positioning him as a strong contender for the Best Actor category in the upcoming Oscar Awards. Guy Pearce's portrayal of Harrison Lee Van Buren, meanwhile, is equally compelling. He brings a sophisticated yet sinister presence to the screen, embodying a complex character whose relationship with Tóth evolves from supportive patronage to a darker, more possessive dynamic. 

Brady Corbet's direction is ambitious, utilizing the obscure VistaVision format to create a visual style that matches the film's epic narrative. The cinematography is both timeless and unconventional, with striking imagery that enhances the storytelling. The film's visual grandeur complements its exploration of themes such as creative vision, personal sacrifice, and the complex dynamics between artist and patron. And the film's incredible score, courtesy of Daniel Blumberg, enhances the movie's grandeur and themes. 

With a runtime of three hours and thirty-five minutes, The Brutalist is undeniably lengthy - to the point I've put off going to see this movie until now because its length just seemed arduous to me. However, the film's pacing and narrative depth make the duration feel justified. The inclusion of an intermission is a thoughtful touch, allowing audiences to absorb the first half before delving into the latter half. Despite its length, many viewers find that the story's richness and the compelling performances make the time fly by; they certainly did for me. 

In short, The Brutalist is nothing short of a cinematic masterpiece, offering a profound, visually stunning, and timely exploration of an architect's quest for identity and purpose in post-war America. While its extended runtime may be daunting to some, the film's depth and artistry provide a rewarding and immersive experience that is well worth the investment. I can't recommend this one enough!

Movie Review/ "You're Cordially Invited"

By Anthony Caruso

Nicholas Stoller's You're Cordially Invited is a romantic comedy that explores the chaos ensuing from a double-booked wedding venue. The film features Will Ferrell as Jim, the protective father of bride Jenni, and Reese Witherspoon as Margot, a wedding planner and sister to the other bride, Neve.

The narrative centers on two weddings inadvertently scheduled at the same remote island venue in Georgia. As both parties arrive, tensions rise, leading to a series of comedic confrontations and mishaps. The families must navigate their differences and the logistical nightmare to ensure their respective ceremonies proceed.

Will Ferrell and Reese Witherspoon deliver performances consistent with their established comedic personas. Ferrell embodies the overprotective father with his trademark humor, while Witherspoon portrays the ambitious and meticulous wedding planner. Their chemistry adds a dynamic layer to the film, though it doesn't venture beyond familiar territory.

The film leans heavily on traditional romantic comedy tropes, resulting in a narrative that feels predictable. Despite this, the script offers moments of genuine humor, and certain scenes stand out for their comedic timing. However, the reliance on clichés may leave some viewers desiring more originality.

That said, while You're Cordially Invited doesn't break new ground in the romantic comedy genre, it provides a light-hearted and entertaining experience. The film's strength lies in its cast's chemistry and the humorous situations arising from the central premise. It's a pleasant watch that may not leave a lasting impression but is likely to elicit smiles during its runtime even if you'll never feel the need to revisit it again in the future.

Movie Review/ "Companion"

By Anthony Caruso

Drew Hancock's Companion is a darkly humorous and thought-provoking sci-fi thriller that delves into themes of artificial intelligence, autonomy, and the commodification of relationships. The film stars Sophie Thatcher as Iris, an advanced companion robot, and Jack Quaid as Josh, her owner and boyfriend.

The narrative follows Iris and Josh as they join friends for a weekend retreat at a remote lake house. The gathering takes a sinister turn when Iris, initially perceived as a human, is revealed to be an AI companion. This revelation sets off a chain of events that challenge the dynamics of control, autonomy, and the essence of humanity.

Sophie Thatcher delivers a compelling performance as Iris, capturing the nuanced transition from programmed subservience to self-awareness and independence. Her portrayal effectively conveys the internal struggle of an AI grappling with newfound autonomy. Jack Quaid embodies Josh with a blend of charm and underlying control, reflecting societal attitudes toward possession and objectification. Their on-screen chemistry brings depth to the complex relationship between creator and creation.

Companion serves as a timely commentary on the objectification of women and the ethical implications of AI in personal relationships. The film critiques a culture that views companions—be they human or artificial—as entities to be controlled and customized, echoing contemporary discussions about consent and agency. This narrative is particularly resonant in an era where technology increasingly intersects with intimate aspects of human life.

Hancock's direction is visually engaging, with the secluded lake house setting providing an eerie backdrop that enhances the film's suspenseful atmosphere. The cinematography effectively captures the isolation and tension among the characters, while the integration of futuristic technology feels grounded and plausible, lending credibility to the near-future setting.

The film's first act unfolds at a deliberate pace, establishing character relationships and setting the stage for the central conflict. While some viewers may find this portion slow - I did - it serves to build tension and investment in the characters. Once the plot's central revelations emerge, however, the narrative momentum accelerates, delivering a gripping and engaging experience.

As of January 31, 2025, Companion stands out as a remarkable entry in the year's film landscape. I highly recommend it for those seeking a sci-fi thriller that challenges societal norms and explores the complexities of the relationship between artificial intelligence and humans, as well as a timely story (especially for the Trump era) about the autonomy of women.

Movie Review/ "Dog Man"

By Anthony Caruso

"Part Dog. Part Man. All Hero."

DreamWorks Animation's Dog Man brings Dav Pilkey's beloved graphic novel series to life in a vibrant and heartfelt adaptation. Directed by Peter Hastings, the film offers a blend of humor, action, and emotional depth that caters to audiences of all ages.

At its core, Dog Man is a family-friendly movie that transcends age barriers. The narrative follows the titular character, a half-dog, half-human police officer, as he navigates the challenges of his unique existence while combating the mischievous Petey the Cat. The film is peppered with laugh-out-loud moments, yet it doesn't shy away from poignant themes of identity, friendship, and redemption. Indeed, the film effectively balances humor with valuable life lessons, making it an engaging watch for children and adults alike. 

A standout aspect of the film is its portrayal of Dog Man himself. The animators have meticulously captured the endearing traits of a loyal and protective canine, infusing the character with mannerisms that resonate with dog lovers. This authenticity makes Dog Man not just a cartoonish figure but a relatable and lovable protagonist. Additionally, the dynamic between Dog Man and Petey is another highlight. Their interactions encapsulate the classic rivalry between dogs and cats but with added depth. The introduction of Li'l Petey, a good-hearted kitten accidentally created by Petey, adds a layer of complexity, portraying the duo in quasi-parental roles. This relationship mirrors that of divorced parents co-parenting a child, adding emotional weight to their exchanges. 

Visually, Dog Man is a treat. The animation style is both fun and visually stunning, with creative action sequences that captivate the audience. The film's score complements the animation, enhancing the overall viewing experience. That said, while the film excels in many areas, it exhibits a hyperactive pacing, characteristic of contemporary children's animated films. The story often progresses through rapid montages, which, while engaging, can feel a bit overwhelming. 

The film presents Dog Man's origin story with a blend of humor and tragedy. The fusion of Officer Knight and his dog Greg into Dog Man is portrayed in a lighthearted manner, yet from an adult perspective, it carries a tragic undertone. Throughout the movie, Dog Man's reflections on his past lives add depth to his character, highlighting themes of loss and identity, and is sure to make adults who overthink things - like me - supremely uncomfortable in a lot of ways.

Given its strengths, Dog Man has the potential to spawn sequels and even inspire theme park attractions - or at the very least appearances from the lovably adorable canine officer. I, for one, hope it does, for Dog Man is a delightful film that offers a mix of humor, action, and emotional depth. Despite its minor flaws, it stands as a testament to DreamWorks' ability to craft stories that resonate with both children and adults. It's a movie that leaves a lasting impression and is well worth watching again. I know I'll be revisiting!

Side Note: How cool is DreamWorks' new opening introduction?!

Movie Review/ "Presence"

By Anthony Caruso

Presence is a wonderfully haunting, deeply emotional film that defies its marketing as a horror movie. Instead, it unfolds as a slow-burn psychological thriller—a poignant ghost story about grief, longing, and the struggles of a fractured family. It may not deliver traditional scares, but it offers something more profound: a raw, beautifully sad meditation on human connection and loss.

Despite being marketed as a horror film, Presence leans more heavily into psychological and emotional territory. There are no jump scares or overtly frightening moments, but that’s by design. The film instead presents what feels like a more grounded and realistic interpretation of a haunting. If ghosts exist—and count me as someone who believes they do—this depiction rings true. The supernatural elements are subtle, almost understated, but they’re powerful in their quiet inevitability, weaving seamlessly into the family’s story of heartbreak and longing.

One of the film’s standout choices is telling the story from the titular Presence's point of view. While last year’s In a Violent Nature employed a similar technique, Presence makes it its own by keeping the ghost closely tethered to the human characters. This approach provides a rich, emotional narrative with tangible connections to our protagonists. By staying intimately connected to the family, the film creates a dynamic and engaging story filled with dialogue, character development, and raw emotional moments that keep the audience invested.

The cast delivers phenomenal performances across the board, bringing nuance and depth to a family that is struggling to stay together. Each character feels authentic, flawed, and deeply human, making it impossible not to empathize with their pain and longing. The screenplay is equally impressive, weaving a story that is both engaging and heartbreaking. It’s a beautifully sad portrayal of a family growing apart, unable to express their love for one another, and it resonates on a deeply emotional level.

Visually, Presence is a triumph. The cinematography is stunning, with every frame feeling deliberate and cinematic. The film’s use of light and shadow enhances its eerie, melancholic atmosphere without resorting to the usual horror tropes. The score, too, is worth mentioning—a hauntingly beautiful accompaniment that underscores the film’s themes of grief and acceptance.

At a crisp runtime, Presence never overstays its welcome. Its pacing is deliberate, but the slow build feels entirely justified, giving the characters and story the time they need to unfold naturally. The result is a film that, while undeniably heavy in subject matter, remains highly watchable and impactful.

While Presence may not be the horror film some audiences were expecting, it succeeds brilliantly on its own terms. It’s an intelligent, emotionally resonant film that offers a fresh take on ghost stories—one that’s more about the living than the dead. I highly recommend for those who enjoy thoughtful, emotionally driven cinema. It's a fantastic film that proves you don’t need jump scares or gore to make a ghost story memorable.

Movie Review/ "Wolf Man"

By Anthony Caruso

Leigh Whannell’s Wolf Man is a masterful, slow-burn thriller that revitalizes the classic Universal Monster for a new era. Much like his modern reimagining of The Invisible Man, Whannell trades supernatural elements for a grounded, contemporary twist. Instead of potions or curses, the “wolf” here emerges from an incurable illness, and this recontextualization works brilliantly. With stunning direction, visceral body horror, and a thoughtful exploration of humanity and monstrosity, Wolf Man solidifies Whannell as one of the foremost auteurs of modern horror.

The performances are top-notch, with Christopher Abbott delivering a gut-wrenching portrayal of a man grappling with the terrifying transformation of his body and mind. The film demands a lot from its lead, balancing moments of vulnerability, rage, and despair, and Abbott is up to the task. His slow descent into his condition is hauntingly realistic, made even more unsettling by the supporting cast’s reactions, which mirror the audience’s unease.

Sam Jaeger’s portrayal of the Wolf Man, meanwhile, is another highlight. While his design may stir debate among fans, Jaeger’s physicality and the emotive nuances he brings to the creature lend it an air of tragic humanity. The makeup design might lack the lush, fur-heavy appearance of previous iterations, but its stripped-down, sinewy look serves this story’s tone. In shadowy or dimly lit scenes, the Wolf Man is absolutely terrifying—though in brightly lit moments, the design falters slightly, exposing a lack of fine detail. Even so, it remains a faithful nod to the original film's aesthetic, with a modern twist that is more grounded than fantastical. Indeed, the design of Jaeger's Wolf Man in particular is much better looking than Abbott's turns out to be in the end.

Whannell’s direction is nothing short of stunning. From the first frame, it’s clear he has a meticulous eye for detail, building tension through stark lighting, clever transitions, and innovative sound design. The way the film shifts between the Wolf Man’s perspective and that of the humans around him is a stroke of genius. The sound design, in particular, deserves praise for immersing viewers in the heightened senses and animalistic instincts of the titular creature, amplifying the horror and disorientation of his plight. The cinematography and lighting play a significant role in creating the film’s moody, suspenseful atmosphere. Whannell knows when to keep things in the shadows, allowing our imaginations to fill in the gaps, and when to reveal just enough to make us squirm. The body horror sequences are visceral and deeply uncomfortable, capturing the physical and psychological toll of the transformation with unflinching intensity.

At its heart, Wolf Man is about the loss of control—over one’s body, mind, and fate. The film explores themes of illness, identity, and alienation with intelligence and nuance, grounding the horror in real-world fears. This makes the story all the more compelling and relatable, even as it ventures into the supernatural-adjacent territory.

While Wolf Man doesn’t quite reach the heights of Whannell’s The Invisible Man, which I’d deem a masterpiece, it’s still a fantastic film in its own right. The trailers didn’t do it justice—this is a gripping, gorgeously crafted thriller that balances horror with pathos and delivers a fresh take on an iconic character. Blumhouse desperately needed a win after a rough 2024, and Wolf Man delivers in spades. It’s a fantastic way to kick off 2025, and I’m already looking forward to revisiting this one every Halloween season. Leigh Whannell has proven yet again that he’s a master of modern horror, and I sincerely hope this film’s success paves the way for his reimaginings of the rest of the Universal Monsters. Imagine what he could do with Count Dracula or Frankenstein's Monster!

In short, Wolf Man is a triumph of atmosphere, storytelling, and innovation—an intelligent and thrilling reimagining of a classic tale that feels both timeless and urgently relevant. Don’t miss it.

Movie Review/ "Flight Risk"

By Anthony Caruso

Flight Risk is the kind of action movie that delivers exactly what you expect—no more, no less. It’s a solid, albeit formulaic, entry into the genre, elevated by its stellar cast and some gorgeous direction by Mel Gibson. While it doesn’t break any new ground, it’s a fun, engaging ride that fans of action thrillers will appreciate, even if it’s unlikely to linger in your memory for long.

The standout element of Flight Risk is its small but mighty cast, which breathes life into what could otherwise have been a paint-by-numbers action plot. The distractingly beautiful Michelle Dockery is a revelation in the lead role, combining grit, vulnerability, and charisma in a way that keeps you invested. She commands the screen with every scene, proving she has the chops to carry an action film on her own. It’s hard not to imagine her as a leading lady in more high-profile projects after this.

Topher Grace and Mark Wahlberg are both equally as strong, though the script doesn’t give them quite as much to work with. Nevertheless, each actor brings their A-game, with the former bringing his trademark, quick wit to the role while the latter brought his tough guy Boston persona. 

Mel Gibson’s direction is another highlight, showcasing his ability to stage thrilling action sequences and inject energy into even the slower moments. The overhead shots of the Alaskan wilderness are breathtaking, adding a layer of visual splendor that contrasts nicely with the tense, claustrophobic moments inside the plane. Gibson’s use of perspective and pacing ensures that the film remains engaging, even when the story veers into cliché territory.

Indeed, the plot of Flight Risk is serviceable but heavily reliant on genre tropes. From the morally conflicted protagonist to the overly simplistic villains, the narrative doesn’t offer much in the way of originality. It leans hard into stereotypes, which can sometimes feel tired and uninspired. While the pacing is solid, the story’s predictability undermines its impact, and the script could have benefited from a few unexpected twists or deeper character development.

One of the film’s weakest points is its uneven use of CGI, which ranges from passable to laughably bad. While the action sequences are well-choreographed, some of the visual effects—particularly those involving the plane—pull you out of the moment. It’s a shame, as the practical effects and stunt work are solid, but the subpar CGI detracts from the overall experience.

Ultimately, Flight Risk isn’t a must-see theatrical experience, but it’s a perfectly entertaining action flick that works well as a streaming option. It’s the kind of movie you might not seek out but wouldn’t mind stumbling upon during a lazy afternoon. It’s not a film I’d personally go out of my way to revisit, but if it came on TV, I wouldn’t change the channel. It might not soar to great heights, but it’s a smooth enough ride for what it sets out to be.

Movie Review/ "Hot Frosty"

By Anthony Caruso

Hot Frosty is an entertaining, albeit ill-conceived, adult twist on the beloved tale of Frosty the Snowman. While the concept may sound absurd—and it is—the execution balances irreverent humor with a surprising amount of heart, making it an oddball holiday film that, while divisive, manages to stand out among Netflix's more lackluster Christmas offerings.

The story follows the widow Kathy Barrett, owner and operator of Kathy's Kafé in downtown Hope Springs, New York, who inadvertently brings a muscular snowman to life via a red scarf that she was "destined" for. The plot spirals into an outrageous series of events, complete with raunchy escapades, heartfelt family moments, and a quirky romance. And while the premise is undeniably bizarre, the film leans into its absurdity, blending over-the-top humor with moments of genuine sentimentality. The juxtaposition between raunchy jokes and heartfelt themes gives "Hot Frosty" an odd but endearing charm.

Lacey Chabert, making her jump to Netflix from Hallmark, is as genuinely earnest as ever in the lead role of Kathy Barrett. And while she's not enough to elevate the movie, her charm is enough to prevent it from spiraling into downright "bad" territory. And then there's Dustin Milligan as our titular "Hot Frosty" - a.k.a. Jack Snowman. While he's mainly there to serve as eye candy, he's boyishly goofy in a natural way that will have you believe Chabert's character would fall so quickly for him. The rest of the ensemble is fine enough, with one of my favorite additions being Craig Robinson as Sheriff Nathaniel Hunter; what I appreciated about his performance, in particular, is that Robinson appears to be the only member of the cast who knows exactly the type of absurd movie they're starring in.

The humor in Hot Frosty is a mixed bag, leaning heavily into adult jokes and outrageous scenarios that won’t land for everyone. The raunchy elements push the boundaries of what one might expect from a Christmas movie, with some jokes feeling unnecessarily crude or out of place. However, for those willing to embrace the film’s irreverent tone, there are plenty of laugh-out-loud moments, particularly in our "Hot Frosty's" interactions with the townspeople and his attempts to adapt to modern life.

Hot Frosty is a wild ride that won’t be for everyone. The adult twist on a childhood classic may alienate purists and those seeking a more traditional holiday movie. However, for viewers open to a raunchy, unconventional Christmas film with a surprising amount of heart, it’s an entertaining watch that’s worth a try. At the very least, it's a film that earns its place as a guilty pleasure holiday romp.

Movie Review/ "Wicked"

By Anthony Caruso

Wicked: Part One is everything I hoped it would be and more. As someone who has seen the Broadway show five times, I hold Wicked close to my heart—it’s my favorite musical of all time. My expectations for this movie were sky-high after waiting two decades for it, and not only did it meet those expectations, it exceeded them in every way. This adaptation is a breathtaking masterpiece that had me in tears, feeling full-body chills, and brimming with joy. It’s a magnificent tribute to Act One of the stage show and an extraordinary feel-good crowd-pleaser evocative of old Hollywood, making it my personal pick for movie of the year.

Cynthia Erivo and Ariana Grande are nothing short of perfect as Elphaba and Glinda. Their portrayals are nuanced and magnetic, bringing warmth, humor, relatability, and heartbreak to their characters. Erivo’s Elphaba is as powerful and empathetic as you’d expect, but Grande as Glinda is a revelation. She delivers an effortlessly charismatic performance that steals the show, blending humor, vulnerability, and dazzling vocal prowess. Her rendition of “Popular” alone had me grinning from ear to ear. Both actresses are sure to earn Oscar nominations, and while Erivo’s powerhouse performance deserves recognition, I wouldn’t be surprised if Grande walks away with Best Supporting Actress. She was born for this role - and I say that as somebody who was initially extremely wary of her casting upon its announcement!

The supporting cast is equally brilliant. Michelle Yeoh’s presence as Madame Morrible and Jeff Goldblum’s whimsical yet menacing Wizard are tantalizing previews of what’s to come in "Part Two". Jonathan Bailey’s portrayal of Fiyero deserves special praise, however. He elevates a character I’ve always liked well enough into someone I adore. Bailey brings a depth, charm, and charisma to Fiyero making his journey deeply compelling.

Oz itself, meanwhile, has never felt so real. The production design, costumes, and practical effects are phenomenal, creating a vibrant, immersive world full of detail and wonder. From the emerald glow of the city to the verdant forests and bustling streets, every frame is brimming with life and authenticity. And the restrained use of CGI is both unexpected and a triumph. Apart from the magical "Animals" and a few scenes toward the end of the movie, most of the sets and props feel tactile, transporting you straight into this magical world. It’s a refreshing throwback to a time when blockbusters relied heavily on practical artistry, further reinforcing the movie’s timeless, Old Hollywood feel.

The musical numbers are the film’s heartbeat, and every single one is pitch-perfect. The choreography is not just fun, but dazzling, while the rearrangements of Stephen Schwartz’s iconic score are fantastic, adapting beautifully to the screen without losing any of their theatrical power. “Defying Gravity” is, of course, the emotional high point, and it had the entire theater in stunned silence before erupting into applause. But the standout numbers don’t stop there! “No One Mourns the Wicked” sets the film’s tone masterfully. “What Is This Feeling?” is delightfully playful. “Dancing Through Life” showcases both stunning choreography and Jonathan Bailey’s charm. “One Short Day” is a visual and auditory feast, brimming with wonderful surprises. Every song feels lovingly translated, retaining its emotional weight and theatricality while embracing the cinematic medium.

Director Jon Chu, alongside writers Winnie Holzman and Dana Fox, has created a film that is both faithful to the Broadway production and innovative in its execution. Chu’s passion for the source material shines through in every frame. He seamlessly blends elements of the stage musical with additional backstory from Gregory Maguire’s novel and entirely new material that enriches the narrative. The film also pays loving homage to the 1939 classic, The Wizard of Oz, from visual motifs to subtle musical cues woven into the score by Stephen Schwartz and John Powell. These references don’t feel forced, but instead enhance the story, bridging the gap between the beloved original film and this contemporary masterpiece, and I'm curious to see how "Part Two" continues to do that, making the stories gel more seamlessly together than even the Broadway show managed to do.

Wicked: Part One captures the magic of classic musicals like The Wizard of Oz while feeling modern and fresh. It’s a rarity in today’s blockbuster landscape: a movie that is colorful, emotionally resonant, extraordinarily timely, and brimming with hope. The production values, storytelling, and performances come together to create something truly special. When the explosive finale culminated in the words “To Be Continued,” the audience in my theater erupted into cheers and applause. There were even spontaneous ovations after several musical numbers throughout - a testament to how much this film resonated with the crowd.

In the end, I feel confident in saying this is not just the best musical adaptation I’ve seen in years, but may very well be the best since The Wizard of Oz. Wicked: Part One is destined to become a classic. It’s sure to be an awards contender, a box-office juggernaut, and an unforgettable experience for fans and newcomers alike. I can’t wait to watch it again multiple times in theaters and revisit it often when it hits home media, and I will eagerly be counting down the long days until the release of "Part Two". Until then, I’ll be reliving this extraordinary experience in my mind and listening to the film's soundtrack on repeat. Whether you’re a fan of the musical or have never seen it before, I urge you to see Wicked: Part One on the biggest screen possible. It’s am absolute triumph in every sense of the word.

Movie Review/ "A Real Pain"

By Anthony Caruso

A Real Pain is a testament to the power of storytelling that seamlessly blends humor, heart, and historical poignancy. Directed by Jesse Eisenberg, who also stars alongside Kieran Culkin, the film is a rich exploration of identity, grief, tradition, and heritage set against the backdrop of Poland—a place steeped in history and resonance for Jewish culture. It’s a striking achievement that manages to be both a personal odyssey and a universal story of connection.

The film follows two cousins - Jesse Eisenberg’s David and Kieran Culkin’s Benji - as they embark on a journey to Poland after a family loss. What begins as a reluctant, quasi-tourist trip soon morphs into a deeper, unexpected confrontation with their own histories, their own personal grief, the lingering echoes of the Holocaust, and how the role the Jewish faith plays in their lives. Eisenberg crafts a screenplay that is both biting and tender, deftly navigating between witty, rapid-fire exchanges and moments of silence that resonate with unspoken pain. It’s this balance between humor and drama that makes A Real Pain truly exceptional. While the humor is sharp and dry, it never feels out of place or disrespectful. Instead, it serves to highlight the contrast between the modern identities of our main characters and the profound legacy of their heritage. The film’s exploration of the Jewish experience—tied to themes of survival, guilt, and resilience—adds layers of meaning that enrich its emotional depth.

The performances in A Real Pain are nothing short of extraordinary. Jesse Eisenberg’s David is a complex figure: intellectual, anxious, and searching for meaning. Eisenberg infuses the character with authenticity and vulnerability, making him relatable yet distinct. Kieran Culkin, on the other hand, shines as Benji, whose more carefree and irreverent personality serves as a counterbalance to Daniel’s introspection. Culkin’s comedic timing is impeccable, but it’s his ability to inject pathos into unexpected moments that cement his performance as one of the film’s standouts. The two of them have incredible chemistry with one another, and it’s easy to believe that the two of them are cousins. The supporting cast, meanwhile, adds further richness to the narrative. Each character contributes to the success of the film and have moments to shine, adding humor, authenticity, and drama to the proceedings.

Visually, the movie is a feast for the eyes. Michał Dymek‘s cinematography showcases Poland in a way that feels both hauntingly beautiful and inviting. Sweeping shots of the country’s cobblestone streets, lush countryside vistas, and somber historical sites juxtapose the film’s lighter moments with its heavier, contemplative ones. This visual storytelling not only enhances the narrative but also adds a layer of richness that invites the viewer to reflect on the passage of time and the permanence of place. The story is also aided by the score, which serves as a subtle yet powerful companion to the story and blends traditional Jewish melodies with modern, emotive compositions. The film’s sound design also plays a crucial role, particularly in scenes set in historical sites, where the ambient noise of footsteps and whispers amplifies the film’s immersive quality.

I could truly go on and on about the themes of identity, loss, and collective memory that the movie delves into. Its examination of the Jewish experience is neither didactic nor overly sentimental, but instead strikes a balance that is both reverent and relatable - even to people, like myself, who are not Jewish. Eisenberg’s direction ensures that these themes are handled with care, using humor to break tension without undermining the film’s more serious moments. It’s the film’s portrayal of grief—not just as an individual burden but as a shared experience that binds people across generations - that is its biggest strength, however; at least as far as I’m concerned. The narrative raises thoughtful questions about what it means to inherit pain and how to honor it without being consumed by it. The result is a film that is deeply personal yet widely resonant, capable of sparking reflection long after the credits roll. It’s truly a triumph on every conceivable level.

In a year full of standout releases, A Real Pain earns its place amongst the best of them. For all of the reasons I laid out above and more, it is sure to be a strong contender during awards season. I highly recommend this film to everyone, and can’t wait to revisit it when it hits streaming.

Movie Review/ "Red One"

By Anthony Caruso

Red One delivers a festive, action-packed romp that breathes new life into the holiday movie genre. While not without its flaws, the film offers enough heart, humor, and inventive storytelling to make it an enjoyable addition to the large stable of Christmas films. Despite mixed reviews and a disappointing box office projection, Red One deserves a second look for those searching for a holiday film that mixes traditional elements with an unconventional twist.

The Red One narrative centers on a unique take on the Christmas mythos, blending action, adventure, and fantasy with a touch of darkness. Dwayne “The Rock” Johnson stars as Callum Drift, one of Santa's E.L.F.s who is tasked with rescuing the famous man with the bag in order to save Christmas from a magical threat. The plot finds its antagonist in the villainous Gryla, a Christmas witch portrayed with icy brilliance by Kiernan Shipka. Her plan is deceptively simple and cleverly understated, presenting a unique twist that doesn’t rely on over-the-top stakes, yet personally affects most people worldwide.

The story surprises with moments that are darker than expected for a holiday movie, lending it an edge that older audiences can appreciate while still maintaining the whimsy that kids love. The blend of classic Christmas motifs with new mythological elements enriches the film’s universe and sets the stage for potential expansions into other holiday tales—a tantalizing possibility that may go unexplored due to poor box office results.

Dwayne Johnson, as expected, plays to his strengths as Callum Drift, bringing his trademark charm and physicality. While Johnson’s persona is beginning to feel a bit familiar, it fits the character well enough to keep audiences entertained. However, it’s Chris Evans and J.K. Simmons who truly shine in their respective roles. Evans brings a surprising depth and comedic touch to his character, making him more than just a sidekick to Johnson’s lead. And while the trailers might have hinted at a modern, gruff reimagining of Santa Claus, Simmons offers a surprisingly traditional, heartfelt take that grounds the story in classic holiday sentiment.

Kiernan Shipka’s Gryla is a standout as well. She portrays her with a compelling mix of menace and allure, making her both a formidable foe and an intriguing character. Her nuanced performance, alongside her character’s deceptively clever plan, brings a refreshing villain to the holiday movie landscape. It's Kristofer Hivju, however, who nearly steals the show as Krampus, playing the part with a mischievous and wild energy that injects humor and unpredictability into the film. His performance adds a delightful layer, making Krampus a memorable supporting character that enhances the movie’s mythology.

The film’s cinematography strikes a balance between the fantastical and the festive. Wide shots of snow-laden landscapes and cozy, twinkling towns blend with dramatic close-ups during tense confrontations. The visual palette is rich with reds, whites, and deep greens, encapsulating the holiday spirit while integrating darker blacks, blues, and purples into the shadowy scenes that signal Gryla’s presence. And though the special effects don’t always hit the mark— some CGI moments are downright bad —they don’t detract from the overall enjoyment. This is, after all, a holiday film, where a little suspension of disbelief goes a long way. The whimsical tone helps the audience overlook these inconsistencies.

The soundtrack features a mix of classic Christmas songs and original score, both of which add warmth and urgency to the film. The music swells appropriately during action sequences and mellows during tender, nostalgic moments, aiding the emotional tone without being overpowering. The makeup team, meanwhile, excels in their portrayal of mythological characters. JK Simmons’ Santa is a blend of traditional looks with a rugged twist, complete with silver-streaked hair and a leather outfit that still feels familiar. The standout, however, is the detailed work on Krampus, making Kristofer Hivju’s character visually captivating. The practical effects on the more fantastical characters shine, contrasting with some of the CGI’s weaker moments.

Red One might not be perfect, but it’s absolutely worth the watch. It’s a film that embraces the magic, warmth, and occasional darkness of the holiday season. Ignore the critics, gather the family, and enjoy this fun, unconventional take on Christmas lore. It might just find its place in your annual holiday movie rotation as I can guarantee you it has mine.

Movie Review/ "Heretic"

By Anthony Caruso

Heretic is a masterstroke of contemporary cinema that effortlessly balances psychological tension with profound thematic exploration. Directed by Scott Beck and Bryan Woods, the film boldly delves into the complex interplay between belief, control, and personal liberation. With standout performances from its star-studded cast, it's easily one of the most compelling films of 2024.

Hugh Grant delivers one of the most mesmerizing performances of his career as the enigmatic and menacing antagonist. Portraying a charismatic and extraordinarily manipulative religious intellectual, Grant infuses the role with a magnetic presence that blurs the line between charm and menace. He commands attention in every scene, showcasing a layered character whose motivations oscillate between altruism and self-serving manipulation. Sophie Thatcher, meanwhile, plays the determined and introspective Sister Barnes, and serves as the movie's emotional anchor. Her performance is raw, heartfelt, and compelling, proving she’s a star capable of holding her own in the presence of acting heavyweights. Then there's Chloe East, who rounds out the cast as Sister Paxton. East complements Thatcher with equal vigor, perfectly playing Paxton’s transformational journey from quiet follower to someone who begins to question everything she once held sacred. East’s ability to express vulnerability and resolve in equal measure adds depth to the narrative, creating a dynamic and authentic on-screen partnership with Thatcher.

The screenplay deftly weaves suspense with moments of philosophical rumination, resulting in a narrative that grips from start to finish, despite many scenes merely depicting three characters standing around debating religion. The dialogue is sharp, with Grant’s character delivering lines steeped in ambiguity and dark humor that leave audiences pondering their meaning long after the credits roll. The directors skillfully construct an atmosphere thick with tension, using dim lighting, deliberate pacing, and close-up shots that amplify the feelings of claustrophobia our protagonists are feeling. Indeed, the cinematography deserves special mention, as it plays a crucial role in conveying the film’s themes. Stark contrasts between light and shadow mirror the dichotomy between faith and doubt, while sweeping shots of the remote and austere, albeit tight, setting evoke an unsettling sense of isolation that accentuates the characters’ inner turmoil.

At its core, Heretic is more than a suspenseful and dramatic horror movie; it’s a meditation on the impact of religious structures on the human psyche. The film poses thought-provoking questions about the nature of belief: When does faith become a prison? When does it serve as a pathway to freedom? Through its characters’ struggles, the film explores how ideology can both uplift and oppress, shaping lives in profound and often unpredictable ways. The story resists easy answers, encouraging viewers to reflect on the influence of dogma in their own lives. This subtle approach ensures that Heretic never feels didactic, but rather like an intricate mosaic of ideas, inviting interpretation and debate.

As I stated above, Heretic is undoubtedly one of the year’s finest films, distinguished by its powerful performances, intelligent script, and skillful direction. It’s a film that lingers, urging reflection on its themes of power, faith, and self-discovery. It's a movie I would highly recommended for anyone who appreciates cinema that challenges and provokes as much as it entertains. It's truly a testament to the power of excellent storytelling, earning its place as an essential watch and an instant classic. I can't wait to revisit it many times in the years to come.